CFP: The Wooden O Symposium

The Shakespeare Conference: SHK 30.064  Thursday, 14 February 2019


From:        Stephanie Chamberlain <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 4:54:56 PM EST

Subject:     Call for Papers: The Wooden O Symposium






The Wooden O Symposium invites panel and paper proposals on any topic related to the text and performance of Shakespeare’s plays. The 2019 conference seeks papers that investigate our 2019 theme: The Ties that Bind. Topics could range from familial relationships, playwright associations, or the societal bonds that connect Shakespeare’s characters. Consideration will also be given to papers dealing with first folio connections in conjunction with The Book of Will. We welcome unique interpretations of this theme. This year’s symposium encourages papers and panels that speak to the Utah Shakespeare Festival’s 2019 season: Macbeth, Hamlet, The Conclusion of Henry VI: parts Two and Three, Twelfth Night, as well as The Book of Will. Abstracts for consideration for the Wooden O sessions and individual presentations should be sent to This email address is being protected from spambots. You need JavaScript enabled to view it..


The deadline for proposals is May 10, 2019. Session chairs and individual presenters will be informed of acceptance no later than June 1. Please include 250-word abstracts or session proposals (including individual abstracts) and the following information:

  • name of presenter(s)
  • participant category (faculty, graduate student, undergraduate, or independent scholar)
  • college/university affiliation
  • mailing address
  • email address
  • audio/visual requirements and any other special requests. For further information, call 435-865-8333.




Book Announcement: Shakespearean Character: Language in Performance

The Shakespeare Conference: SHK 30.063  Thursday, 14 February 2019


From:        Jelena Marelj <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 4:08:38 PM EST

Subject:    Book Announcement: Shakespearean Character: Language in Performance


My book, Shakespearean Character: Language in Performance, has been published with the Arden Shakespeare/Bloomsbury. The book examines how the very lifelikeness of Shakespeare’s dramatis personae is produced. Using theories drawn from linguistic pragmatics, I explore five of Shakespeare’s most  linguistically complex and self-conscious protagonists. The book develops a new concept of dramatic character and will be useful not only for professors and graduate students, but also for theatre practitioners (directors, actors, etc.).




Shakespeare in Stratford-upon-Avon Undergraduate Summer School

The Shakespeare Conference: SHK 30.062  Thursday, 14 February 2019


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 2:32:31 PM EST

Subject:    Shakespeare in Stratford-upon-Avon Undergraduate Summer School



Shakespeare in Stratford-upon-Avon Undergraduate Summer School


This Undergraduate Summer School invites you to study Shakespeare intensively and rigorously through academic and practical work with the Shakespeare Institute and the Royal Shakespeare Company in Shakespeare's home town, Stratford-upon-Avon.



1-19 July 2019


We will explore the latest developments and the big questions in Shakespeare Studies, in areas including contemporary performance, textual and historical studies, and cultural studies.


How and why is Shakespeare performed today? How does a play make meaning in performance? What can we learn by studying plays in their historical context? What can Stratford tell us about Shakespeare, both as a historical playwright and as a contemporary cultural icon? Where do our modern texts of ‘Shakespeare’ come from, and why might that matter to modern readers, scholars or performers?




Valentine’s Day Greeting


The Shakespeare Conference: SHK 30.061  Thursday, 14 February 2019


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Thursday, February 14, 2019


Subject:    Valentine’s Day Greeting



CFP: Variable Objects

The Shakespeare Conference: SHK 30.059  Wednesday, 13 February 2019


From:        Louise Geddes <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 13, 2019 at 11:41:15 AM EST

Subject:    CFP: Variable Objects


CFP: “Variable Objects”: Shakespeare’s Dispossessed Agency 

Editors: Valerie Fazel and Louise Geddes


We are seeking abstracts for a book collection that explores the impact and implications that a theoretical shift towards object oriented ontology and new materialism may have on the Shakespeare aesthetic. Shakespeare’s corpus, by virtue of a contested point of genesis that is both literary and theatrical, exists simultaneously in multiple iterations and as a result, acquires an agency that embraces posthumanism and non-correlative circuits of knowledge. Shakespeare exists in speculative space, becoming a locus of experiment, imagination, and possibility, a place for, and of, risk and opportunity. As a variable object, Shakespeare constantly fragments and reassembles itself in accordance with culture, politics, geographies, technologies, and ecologies, framing the conditions for human-text interaction. Shakespeare invites us to rethink the pathways through which knowledge is acquired and transmitted as well as consider how Shakespeare, in the twenty-first century, does not rely solely on the human subject’s centralizing agency in order to generate meaning. We particularly seek essays draw attention to Shakespeare and discourses of race, gender, sexuality, disability, and diasporic populations.  


To approach Shakespeare as a ‘thing’ transcends appropriative discourse, and draws attention to the dynamic forces of potentiality - both internal and external to the texts - that perpetuate Shakespeare in flux. We invite abstracts that consider how alternate subjectivities reassemble Shakespeare, or that investigate how nonhuman agency might reframe Shakespearean aesthetic. Papers might examine the non-causal networks that emerge within and across Shakespearean drama, the Shakespeare text as actant, and the concept of Shakespeare as an active agent in twenty-first century thought and encompass such methodological approaches as theories of performance, appropriation, digital (and other) networks, and gaming. 


Abstracts should be no more than 250 words in length, and accompanied by a 50-word  biography, due 15 March 2019. Final papers should be at minimum 5000-6000 words and no longer than 8000 words in length and are due late summer 2019. Please send abstracts to This email address is being protected from spambots. You need JavaScript enabled to view it..


Louise Geddes

Associate Professor of English

Adelphi University




Race in Routledge’s New Critical Idiom Series

The Shakespeare Conference: SHK 30.058  Wednesday, 13 February 2019


From:        Alexa Alice Joubin <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 12, 2019 at 10:30:28 PM EST

Subject:    New Book: Race in Routledge’s New Critical Idiom Series


New Book: Race in Routledge’s New Critical Idiom series


Race, by Martin Orkin and Alexa Alice Joubin. London: Routledge, 2019; 252 pages



ISBN: 9781138904699


For 20% discount, enter code FLR40


Of special interest to Shakespeare and early modern studies scholars, Race addresses racialized thinking in Shakespeare and beyond from a global perspective. 


Race draws on culturally and historically diverse materials to examine the intersections of race and gender, whiteness, blackness in a global context, and race in South Africa, Israel, India, Europe, US, East Asia, and Asian America. From Black Lives Matter movements to #MeToo movements, the book close reads a wide array of examples from the Middle Ages to Renaissance to the twentieth century.  


If race is a central part of human identity, can one own or disown one’s race? To which community would a multiracial person, immigrant, or diasporic subject belong? What future is there for race as a viable analytical concept? The book argues that race is profoundly constituted by language and narratives. Race is a signifier that accumulates meaning by a chain of deferral to other categories of difference such as gender and class. 


In contemporary Anglo-European cultures, race often brings to mind people who are not white, while whiteness remains unmarked and serves as a benchmark category—as if white is not a race. The second feature in racial discourses is the alignment of a race-based social group with innate or inner qualities rather than class. Third, the focus on black and white sometimes obscures other groups within the United States, such that Hispanics, Latinos, Chicanos, and Native Americans often fall under the rubric of ethnicities rather than “race.” 


Table of contents




Part I: Fixing the fetters of race 


Chapter 1: Marking barbarians, Muslims, Jews, Ethiopians, Africans, Moors, or blacks 


Chapter 2: Pseudo-scientific markings of difference 


Part II: Recasting the fetters of race 


Chapter 3: Legislative, governmental, and judicial markings of difference 


Chapter 4: Slavery and race 


Part III: Loosening the fetters of face 


Chapter 5: Race and epistemologies of otherness 


Conclusion: race in the world






CFP: Women and Indian Shakespeares

The Shakespeare Conference: SHK 30.057  Wednesday, 13 February 2019


From:        Women and Indian Shakespeares <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 12, 2019 at 11:03:11 AM EST

Subject:    CFP: Women and Indian Shakespeares




Women and Indian Shakespeares:

Exploring cinema, translation, performance


30 October – 1 November 2019 Queen’s University, Belfast, UK


Indian Shakespeares is an established field of study, but no international conference has yet centralised the issue of the female in Indian Shakespeares. Recent feminist works include the retelling of King Lear in Sangeeta Datta’s film Life Goes On (2010) or in Preti Taneja’s novel We That Are Young (2017), Romeo and Juliet in Arshinagar (dir. Aparna Sen) or Bornila Chatterjee’s 2016 film adaptation of Titus Andronicus, The Hungry. Indeed, it has been argued that the women in Vishal Bhardwaj’s celebrated hero-centric film trilogy possess transformative agency. Such works have continued to reshape the debate surrounding the role of women.


This conference thus emerges in the context of these retellings and recent historical events in India and worldwide. It aims to explore uncharted territory, bringing together researchers and practitioners to establish the state of current scholarship in this vibrant, underexamined field.


We invite proposals for 20-minute papers, panels, workshops and creative approaches on any aspect of Women and Indian Shakespeares. Alternative presentations are also equally welcome, such as film shorts, film scripts, etc.


Contributions are invited on any of the following aspects of the topic:

  • Depictions of women in Indian Shakespeares on screen or on stage
  • Indian female practitioners of Shakespeare
  • Female Indian diasporic practitioners of Shakespeare
  • Examinations of cross-dressed women
  • Examinations of cross-gendered casting
  • Transgender women in Indian Shakespeares
  • LGBTQ Indian Shakespeares
  • Feminist theory and intersectionality in relation to Indian Shakespeares
  • Issues of caste in relation to women and Indian Shakespeares
  • Regional perspectives and representations of women
  • Challenges of researching Women and Indian Shakespeares


200-300 word abstracts for works to be presented at the conference should be sent by 1 April 2019. Together with the abstract, participants are invited to send a brief (up to 100 words) bio stating their affiliation, research interests and relevant academic output.


Decisions will be made by 1 June 2019. If accepted, abstracts will be circulated among conference participants in advance of the event. Auditors are also welcome to attend, but priority will be given to those presenting.


Confirmed speakers include:


Prof. Paromita Chakravarti (Jadavpur University) 

Ms. Bornila Chatterjee (filmmaker, The Hungry

Ms. Sangeeta Datta (filmmaker, Life Goes On)

Dr. Sreedevi Nair (NSS College for Women) 

Prof. Jyotsna Singh (Michigan State University) 

Dr. Poonam Trivedi (formerly Delhi University)


Both abstracts and bios should be sent in Word or PDF format to the following address: This email address is being protected from spambots. You need JavaScript enabled to view it.


Organising Committee (Queen’s University, Belfast):

Dr. Thea Buckley, Leverhulme Early Career Research Fellow (co-chair) Dr. Rosa García Periago, Marie Curie Research Fellow (co-chair)

Prof. Mark Thornton Burnett (consultant)



Handout:  pdf CFP Women and Indian Shax Feb 11 (210 KB)




Merchants, Artisans, and Literati in Early Modern Europe

The Shakespeare Conference: SHK 30.053  Tuesday, 12 February 2019


From:        Al Magary <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 11, 2019 at 4:51:07 PM EST

Subject:    Merchants, Artisans, and Literati in Early Modern Europe


The blurb for a conference on the Early Modern book trade might be of interest:


Merchants, Artisans & Literati: The Book Market in Renaissance Europe

A Conference Organized by Angela Nuovo (University of Milan – EmoBookTrade Project)

UCLA Humanities Conference Room, Royce Hall 314

Friday-Saturday, March 1-2, 2019


In the early stage of printing, Erasmus from Rotterdam provided a vivid account of his experience with the renowned humanist and publisher Aldus Manutius. In his 1508 Adagia, Erasmus described himself torn between Aldus’s rich library and his frantic printing shop where, allegedly, Erasmus was pressured by the publisher and his craftsmen to release the last-minute draft s of his texts moments before having them sent to press. Whether fictitious or real, this stresses an often-overlooked aspect of the early modern print world. Books took shape in a varied environment where intellectuals, merchants and artisans worked side by side in the common effort to produce competitive commodities for a growing market of readers.


Only recently has scholarship followed up on Erasmus’s lead to fully recognize the early modern book world as an organic system in which authors, publishers, sellers and readers shared responsibilities in shaping content, form and context of books. From this perspective, material features of books mingle with economic aspects, and they all merge into consideration of social, cultural and political relevance...




The Complete Arkangel Shakespeare : Free

The Shakespeare Conference: SHK 30.047  Friday, 8 February 2019


From:         Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>>

Date:         February 8, 2019 at 5:54:18 AM EST

Subject:    The Complete Arkangel Shakespeare : Royal Shakespeare Company : Free



The Complete Arkangel Shakespeare

by Royal Shakespeare Company



Publication date 2004-04-04

Topics Classics, Theatre

Language English


The Complete Arkangel Shakespeare won the 2004 Audie Award for “Best Audio Drama”.


The Complete Arkangel Shakespeare is a notable series of audio dramatizations of all 38 plays of William Shakespeare, released from 1998 onwards. The plays are unabridged and based on The Complete Pelican Shakespeare, published by Penguin Classics. The production features nearly 400 actors, almost all past or present members of the Royal Shakespeare Company.




CFP: 43rd Ohio Valley Shakespeare Conference

The Shakespeare Conference: SHK 30.044  Thursday, 7 February 2019


From:        Joe Sullivan <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 6, 2019 at 3:34:17 PM EST

Subject:    Updated CFP: 43rd Ohio Valley Shakespeare Conference



Updated Call for Papers

Shakespeare Nations

43rd Annual Ohio Valley Shakespeare Conference

June 28-30, 2019

Marietta College (OH)


Plenary speaker: Ruben Espinosa, University of Texas at El Paso

Emerging Scholar speaker: Vanessa Corredera, Andrews University

Performances by Marietta College’s Shakespeare in the Park Festival: Romeo and Juliet, directed by Emily Heugatter, University of Central Oklahoma; and Bye Bye Birdie

The OVSC welcomes abstracts for papers, panels, workshops, and roundtables that examine Shakespeare’s representations of group(s) as well as proposals that examine how Shakespeare’s works have animated groups over time. We hope to see proposals that come to these issues from a broad range of perspectives and approaches.


In addition to the many ways that Shakespeare’s works explore the search for individual identity, the plays and poems also concern themselves with group dynamics: family, friendship, alliance, faction, race, gender, nation, mob. These cohere and collide in early modern literature in ways still relevant to our time. Characters balance their senses of belonging to place and time such as bloodlines and birthplaces against abstract senses such as citizenries and faiths and even these borders are revealed as porous and unstable. They travel to new locales and negotiate the preservation or loss of old identities, with the assumption of or resistance to new ones. As importantly, for centuries, the works of Shakespeare and his contemporaries have inspired imitation/adaptation/incorporation (sometimes rejection) of what they view on stage into their own group identities. In his time, Shakespeare collaborated with and copied from his contemporaries, but after 1660, acting troupes reintroduced his plays into their repertories or adapted them. Today, some actors are designated as purely Shakespearean actors.


Travelers become Shakespearean throngs in Verona; immigrants bring with them worlds of culture, influencing and being influenced by what they bring and what they find. But Shakespeare as cultural symbol has been used to foster faction, competition or exclusion of group identity. English speakers become “we few, we happy few.”


Curricula commonly require (some do not) the study of Shakespeare. Fans flock to Shakespeare in the Park and wear neckties to their offices striped with witty and knowing quotes. Activist Shakespeareans community-build through their essays and public speeches. Academics form conferences like the OVSC or societies that claim Shakespeare’s work was by someone else.


Presenters may submit their work for consideration by the editors of the Selected Papers of the Ohio Valley Shakespeare Conference.


The conference is open to graduate students for regular sessions, and to undergraduate students for roundtable discussions. Both graduate students and undergraduate students are encouraged to submit papers for The Rick Smith Memorial Prize competition to Professor Hillary Nunn at This email address is being protected from spambots. You need JavaScript enabled to view it. by Friday, May 17.


Please send abstracts of 250-500 words to Joseph Sullivan at This email address is being protected from spambots. You need JavaScript enabled to view it.Early acceptance deadline for abstracts is Friday, March 1. The final deadline for abstracts is Friday, April 26.

Check out our website at    Follow us on Twitter @OVSC




Special Issue of JMEMS: "The Fortunes of Tragedy: Medieval and Early Modern"

The Shakespeare Conference: SHK 30.037  Sunday, 27 January 2019


From:        Patrick Gray <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         January 26, 2019 at 4:14:23 PM EST

Subject:    Special Issue of JMEMS: "The Fortunes of Tragedy: Medieval and Early Modern"


Dear SHAKSPERians,


I write to publicize a special issue of The Journal of Medieval and Early Modern Studies (JMEMS) 49.1 (January 2019) on “The Fortunes of Tragedy: Medieval and Early Modern,” edited by David Aers and Sarah Beckwith, which includes several articles on Shakespeare and which I thought might perhaps be of interest to the listserv.


Abstract for the special issue:


“Go, litel bok, go, litel myn tragedye.” So wrote Chaucer at the end of Troilus and Criseyde. But how compatible are the forms and ideas of tragedy with Christian tradition, its theology and liturgy? What are the relations between medieval and early modern discourses of tragedy? In The Tragic Imagination (2016), the distinguished Anglican theologian Rowan Williams presents a grand narrative maintaining the compatibility of “the tragic imagination” and Christianity. Yet the story neglects, without any comment, the entire Middle Ages. This special issue of JMEMS explores the fortunes of tragedy as a genre by investigating the sources and consequences of this missing middle of Williams’s book. It also concerns what led generations of Christians to invent or reinvent tragic forms of drama and literature in the early modern period. The essays illuminate in new ways the divide between medieval and early modern studies that continues to be intrinsic to departments of the humanities despite increasing acknowledgment of the distortions of cultural histories created by such institutionalization.


Alongside essays on Chaucer’s “Monk’s Tale” and medieval drama, articles in this issue on Shakespeare in particular include:


Jason Crawford, “Shakespeare’s Liturgy of Assumption” 


In his last exchange with Cordelia, a failing and ecstatic Lear promises that they together will “take upon ’s the mystery of things / As if we were God’s spies” (5.3.16 – 17). Take upon us: what are the implications of this language? Why not invite Cordelia (in the formulations Shakespeare uses elsewhere) to “see,” “discover,” “know,” or “pluck out” mystery? The mystery of things seems here to beckon God’s spies not toward acts of apprehension but rather toward an act of assumption. This essay seeks to make sense of Shakespeare’s language of assumption by looking to a cluster of terms that do important work in King Lear: “take on,” “take up,” “bear,” “bear with.” These terms are all complexly associated, in late medieval and early modern discourses, with the incarnation of Christ, and with the ritual taking of Christ’s body in the Eucharist. And they are all associated with narrative representations of the assumption of Mary, in which the son she has borne and taken into herself now takes her up and bears her to heaven. How, in King Lear, do these narratives and practices of assumption inform tragic action? How does the language of assumption enable this play’s peculiar, participatory grammar of suffering? In attending to these questions, the article sets Shakespeare’s play against the backdrop of ritual practice across the divide of the English Reformation, reflecting on how early modern cultural change matters to this tragic play’s own ritual and cultural work.


Patrick Gray, “Shakespeare versus Aristotle: Anagnorisis, Repentance, and Acknowledgment”


Efforts to describe Shakespeare’s tragedies and place them within the history of the genre have been long misled by dubious assumptions about Shakespeare’s secularism dating back to the influence of German Romanticism. The use of concepts drawn from Aristotle’s Poetics has been compromised, as well, by patterns of misinterpretation, reflecting the influence of Renaissance Protestants such as Melanchthon, who sought to reconcile classical tragedy with Christianity. As Aristotle uses the terms, hamartia does not mean sin, and anagnorisis does not mean repentance. Using these terms as euphemisms for these Christian concepts has allowed critics to avoid recognizing Shakespeare’s indebtedness to the moral vision of Christianity. Tragedy for Shakespeare, as in medieval biblical drama, is the failure of a sinner to repent. Shakespeare represents repentance as a process that requires engagement with other people: an intersubjective transformation Stanley Cavell describes as “acknowledgment.”


Paul A. Kottman, “Why Shakespeare Stopped Writing Tragedies” 


Shakespeare’s career moves from an explicit concern with theatrical drama to an increasing concern with what John Vyvyan called “the science of life.” This article argues that this increased concern with ethics led Shakespeare to stop writing tragedies. Shakespeare’s plays indeed point to the pastness of tragedy — the pastness of the hope that formal embodiments of ethical traumas can be directed at a beholding audience in the hope of rectifying them. That is, Shakespeare thought that the formal representation of social and ethical crisis, before an audience — the work of tragedy — could no longer, as such, hope to ameliorate it. Shakespeare understood that tragedy was not historically immune to the social- ethical crises it presented, and this recognition led to Shakespeare’s more radical presentation of the pastness of art in his late plays, The Winter’s Tale and The Tempest.


I also wanted to announce an article that I co-authored with a former student of mine, Maurice Samely, which recently appeared in Textual Practice 33.1 (2019).


Patrick Gray and Maurice Samely, “Shakespeare and Henri Lefebvre’s ‘right to the city’: subjective alienation and mob violence in CoriolanusJulius Caesar, and 2 Henry VI 


I hope readers don’t mind the self-promotion. I know in my own case, I regularly read journals that specialize in Shakespeare, but I don’t always manage to keep up with the latest issue of other excellent but more generalist journals such as JMEMS and Textual Practice


Could I perhaps propose, then, that other SHAKSPERians likewise announce, not only new monographs, edited collections, and special issues focused on Shakespeare, but also new articles on Shakespeare that appear outside specialist journals such as Shakespeare Survey and Shakespeare Quarterly, when they first become publicly available, and include an abstract and a link to the article on-line? 


Other members of the listserv may object to such announcements, in which case, fair enough. I know I myself, however, would be grateful for the help, as I try to stay up-to-date on the latest research. The section on Shakespeare in The Year’s Work in English Studies, for example, provides an invaluable service, both of discovery and of exposition, but it does mean waiting a year or two.   


The same kind of announcement, come to think of it, would also be helpful, in fact even more helpful, for chapters on Shakespeare that appear in edited collections that are not obviously related to Shakespeare, i.e. that do not include the name “Shakespeare” in the title. Otherwise, I find I sometimes happen upon interesting work much later than I would have liked!  


With all best wishes,

Patrick Gray

Associate Professor

Department of English Studies

Durham University




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